Indigenous Studies
Haymarket Books proudly brings back into print Winona LaDuke's seminal work of Native resistance to oppression.
This thoughtful, in-depth account of Native struggles against environmental and cultural degradation features chapters on the Seminoles, the Anishinaabeg, the Innu, the Northern Cheyenne, and the Mohawks, among others. Filled with inspiring testimonies of struggles for survival, each page of this volume speaks forcefully for self-determination and community.
Winona LaDuke was named by Time in 1994 as one of America's fifty most promising leaders under forty. In 1996 and 2000, LaDuke served as Ralph Nader's vice presidential running mate in the Green Party.
Unpacks the twenty-one most common myths and misconceptions about Native Americans In this enlightening book, scholars and activists Roxanne Dunbar-Ortiz and Dina Gilio-Whitaker tackle a wide range of myths about Native American culture and history that have misinformed generations. Tracing how these ideas evolved, and drawing from history, the authors disrupt long-held and enduring myths such as: "Columbus Discovered America"
"Thanksgiving Proves the Indians Welcomed Pilgrims"
"Indians Were Savage and Warlike"
"Europeans Brought Civilization to Backward Indians"
"The United States Did Not Have a Policy of Genocide"
"Sports Mascots Honor Native Americans"
"Most Indians Are on Government Welfare"
"Indian Casinos Make Them All Rich"
"Indians Are Naturally Predisposed to Alcohol" Each chapter deftly shows how these myths are rooted in the fears and prejudice of European settlers and in the larger political agendas of a settler state aimed at acquiring Indigenous land and tied to narratives of erasure and disappearance. Accessibly written and revelatory, "All the Real Indians Died Off" challenges readers to rethink what they have been taught about Native Americans and history.
"Thanksgiving Proves the Indians Welcomed Pilgrims"
"Indians Were Savage and Warlike"
"Europeans Brought Civilization to Backward Indians"
"The United States Did Not Have a Policy of Genocide"
"Sports Mascots Honor Native Americans"
"Most Indians Are on Government Welfare"
"Indian Casinos Make Them All Rich"
"Indians Are Naturally Predisposed to Alcohol" Each chapter deftly shows how these myths are rooted in the fears and prejudice of European settlers and in the larger political agendas of a settler state aimed at acquiring Indigenous land and tied to narratives of erasure and disappearance. Accessibly written and revelatory, "All the Real Indians Died Off" challenges readers to rethink what they have been taught about Native Americans and history.
A wide-ranging, multidisciplinary look at Native American literature through non-narrative texts like lists, albums, recipes, and scrapbooks "An intricate history of Native textual production, use, and circulation that reshapes how we think about relationships between Native materials and settler-colonial collections."--Rose Miron, D'Arcy McNickle Center for American Indian and Indigenous Studies at the Newberry Library Kelly Wisecup offers a sweeping account of early Native American literatures by examining Indigenous compilations: intentionally assembled texts that Native people made by juxtaposing and recontextualizing textual excerpts into new relations and meanings. Experiments in reading and recirculation, Indigenous compilations include Mohegan minister Samson Occom's medicinal recipes, the Ojibwe woman Charlotte Johnston's poetry scrapbooks, and Abenaki leader Joseph Laurent's vocabulary lists. Indigenous compilations proliferated in a period of colonial archive making, and Native writers used compilations to remake the very forms that defined their bodies, belongings, and words as ethnographic evidence. This study enables new understandings of canonical Native writers like William Apess, prominent settler collectors like Thomas Jefferson and Henry Rowe Schoolcraft, and Native people who contributed to compilations but remain absent from literary histories. Long before current conversations about decolonizing archives and museums, Native writers made and circulated compilations to critique colonial archives and foster relations within Indigenous communities.
The powerful, visionary, Booker Award-winning novel about the complicated relationships between three outcasts of mixed European and Maori heritage "This book is just amazingly, wondrously great." --Alice Walker In a tower on the New Zealand sea lives Kerewin Holmes: part Maori, part European, asexual and aromantic, an artist estranged from her art, a woman in exile from her family. One night her solitude is disrupted by a visitor--a speechless, mercurial boy named Simon, who tries to steal from her and then repays her with his most precious possession. As Kerewin succumbs to Simon's feral charm, she also falls under the spell of his Maori foster father Joe, who rescued the boy from a shipwreck and now treats him with an unsettling mixture of tenderness and brutality. Out of this unorthodox trinity Keri Hulme has created what is at once a mystery, a love story, and an ambitious exploration of the zone where indigenous and European New Zealand meet, clash, and sometimes merge.
Winner of both a Booker Prize and Pegasus Prize for Literature, The Bone People is a work of unfettered wordplay and mesmerizing emotional complexity.
Windy Girl is blessed with a vivid imagination. From Uncle she gathers stories of long-ago traditions, about dances and sharing and gratitude. Windy can tell such stories herself–about her dog, Itchy Boy, and the way he dances to request a treat and how he wriggles with joy in response to, well, just about everything.
When Uncle and Windy Girl and Itchy Boy attend a powwow, Windy watches the dancers in their jingle dresses and listens to the singers. She eats tasty food and joins family and friends around the campfire. Later, Windy falls asleep under the stars. Now Uncle's stories inspire other visions in her head: a bowwow powwow, where all the dancers are dogs. In these magical scenes, Windy sees veterans in a Grand Entry, and a visiting drum group, and traditional dancers, grass dancers, and jingle-dress dancers–all with telltale ears and paws and tails. All celebrating in song and dance. All attesting to the wonder of the powwow.
This playful story by Brenda Child is accompanied by a companion retelling in Ojibwe by Gordon Jourdain and brought to life by Jonathan Thunder's vibrant dreamscapes. The result is a powwow tale for the ages.
Bury My Heart at Chuck E. Cheese’s is a powerful and compelling collection of Tiffany Midge’s musings on life, politics, and identity as a Native woman in America. Artfully blending sly humor, social commentary, and meditations on love and loss, Midge weaves short, standalone musings into a memoir that stares down colonialism while chastising hipsters for abusing pumpkin spice. She explains why she doesn’t like pussy hats, mercilessly dismantles pretendians, and confesses her own struggles with white-bread privilege.
Midge ponders Standing Rock, feminism, and a tweeting president, all while exploring her own complex identity and the loss of her mother. Employing humor as an act of resistance, these slices of life and matchless takes on urban-indigenous identity disrupt the colonial narrative and provide commentary on popular culture, media, feminism, and the complications of identity, race, and politics.
Much has been written about the forced removal of thousands of Cherokee Indians to present-day Oklahoma in the 1830s. Many of them died on the Trail of Tears. But until recently historians have largely ignored the tribal remnant that avoided removal and remained in North Carolina. John R. Finger shifts attention to the Eastern Band of Cherokees, descended from that remnant and now numbering almost ten thousand, most of whom live on a reservation adjacent to Great Smoky Mountains National Park. Cherokee Americans is, ironically, the first comprehensive account of the twentieth-century experience of a band that is known to and photographed by millions of tourists. This book is a sequel to The Eastern Band of Cherokees, 1819-1900 (1984) by John R. Finger, who is a professor of history at the University of Tennessee.
On the eve of a major treaty conference between Iroquois leaders and European colonists in the distant summer of 1722, two white fur traders attacked an Indigenous hunter and left him for dead near Conestoga, Pennsylvania. Though virtually forgotten today, this act of brutality set into motion a remarkable series of criminal investigations and cross-cultural negotiations that challenged the definition of justice in early America.
In Covered with Night, leading historian Nicole Eustace reconstructs the crime and its aftermath, bringing us into the overlapping worlds of white colonists and Indigenous peoples in this formative period. As she shows, the murder of the Indigenous man set the entire mid-Atlantic on edge, with many believing war was imminent. Isolated killings often flared into colonial wars in North America, and colonists now anticipated a vengeful Indigenous uprising. Frantic efforts to resolve the case ignited a dramatic, far-reaching debate between Native American forms of justice--centered on community, forgiveness, and reparations--and an ideology of harsh reprisal, unique to the colonies and based on British law, which called for the killers' swift execution.
In charting the far-reaching ramifications of the murder, Covered with Night--a phrase from Iroquois mourning practices--overturns persistent assumptions about "civilized" Europeans and "savage" Native Americans. As Eustace powerfully contends, the colonial obsession with "civility" belied the reality that the Iroquois, far from being the barbarians of the white imagination, acted under a mantle of sophistication and humanity as they tried to make the land- and power-hungry colonials understand their ways. In truth, Eustace reveals, the Iroquois--the Six Nations of the Haudenosaunee, as they are known today--saw the killing as an opportunity to forge stronger bonds with the colonists. They argued for restorative justice and for reconciliation between the two sides, even as they mourned the deceased.
An absorbing chronicle built around an extraordinary group of characters--from the slain man's resilient widow to the Indigenous diplomat known as "Captain Civility" to the scheming governor of Pennsylvania--Covered with Night transforms a single event into an unforgettable portrait of early America. A necessary work of historical reclamation, it ultimately revives a lost vision of crime and punishment that reverberates down into our own time.
The remarkable true story of an Indigenous family who fought back, over multiple generations, against the world-destroying power of settler colonial violence.
Just weeks before police would kill him in Gallup, New Mexico, in March of 1973, Larry Casuse wrote that "never before have we faced an enemy such as this." An Enemy Such as This, for the first time, tells the history of that colonial enemy through the simultaneously epic and intimate story of Larry Casuse and those, like him, who fought against it. From the genocidal Mexican war against the Apaches in the nineteenth century, through the collapse of European empires in the first half of the twentieth century, and culminating in the efforts of young Navajo activists and organizers in the second half of the twentieth century to confront settler colonialism in New Mexico, the book offers a resolutely Native-focused history of colonialism.
In this sweeping work of memoir and commentary, leading cultural critic Paul Chaat Smith illustrates with dry wit and brutal honesty the contradictions of life in "the Indian business." Raised in suburban Maryland and Oklahoma, Smith dove head first into the political radicalism of the 1970s, working with the American Indian Movement until it dissolved into dysfunction and infighting. Afterward he lived in New York, the city of choice for political exiles, and eventually arrived in Washington, D.C., at the newly minted National Museum of the American Indian ("a bad idea whose time has come") as a curator. In his journey from fighting activist to federal employee, Smith tells us he has discovered at least two things: there is no one true representation of the American Indian experience, and even the best of intentions sometimes ends in catastrophe. Everything You Know about Indians Is Wrong is a highly entertaining and, at times, searing critique of the deeply disputed role of American Indians in the United States. In "A Place Called Irony," Smith whizzes through his early life, showing us the ironic pop culture signposts that marked this Native American's coming of age in suburbia: "We would order Chinese food and slap a favorite video into the machine--the Grammy Awards or a Reagan press conference--and argue about Cyndi Lauper or who should coach the Knicks." In "Lost in Translation," Smith explores why American Indians are so often misunderstood and misrepresented in today's media: "We're lousy television." In "Every Picture Tells a Story," Smith remembers his Comanche grandfather as he muses on the images of American Indians as "a half-remembered presence, both comforting and dangerous, lurking just below the surface." Smith walks this tightrope between comforting and dangerous, offering unrepentant skepticism and, ultimately, empathy. "This book is called Everything You Know about Indians Is Wrong, but it's a book title, folks, not to be taken literally. Of course I don't mean everything, just most things. And 'you' really means we, as in all of us."